WEBVTT - FORENSICS: The Cattai Double Murder

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<v S1>A listener production.

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<v S2>Welcome to Crime Insider's forensics. For those joining us for

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<v S2>the first time. My name's Catherine Fox. I'm a former GP,

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<v S2>crime author and screenwriter. I'm enthralled by forensics and have

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<v S2>spent thousands of hours researching for books and screenplays. So

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<v S2>I thought, why not turn my research into a podcast?

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<v S2>Every week you'll be joining me in discovering how forensic

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<v S2>science is helping solve high profile crimes in Australia and

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<v S2>around the world. This week how CCTV footage can lead

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<v S2>to convictions, but also miscarriages of justice.

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<v S3>Unless you can prove it scientifically, you can't really make

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<v S3>that claim. And that was the fallacy of individualization. If

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<v S3>you can't prove it scientifically, don't use it.

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<v S2>Professor Glenn Porter is an expert in the field of

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<v S2>forensic photography. He spent decades taking photos, analyzing them and

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<v S2>presenting them as evidence in court.

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<v S3>So it's very much a filmic visual narrative that crime

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<v S3>scene operatives work on.

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<v S2>It's easy to think that video and photographic evidence is

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<v S2>the smoking gun and the slam dunk for a conviction,

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<v S2>but it's actually far more complicated and not as clear

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<v S2>cut as you might think. You'll hear from Glenn about

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<v S2>how photos can be extremely helpful, but also can sometimes

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<v S2>hinder a case for the prosecution. Glenn's taking us back

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<v S2>to a high profile double murder.

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<v S3>Peter Johnson was accused of murdering a couple at Cadi.

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<v S3>The police facts allege that Mr. Johnson tortured these two

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<v S3>people to get their Pin number, and then went around

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<v S3>ATMs extracting money. Now, there was an ATM in Windsor,

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<v S3>in western New South Wales, where the CCTV captured what

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<v S3>police allege. Mr. Johnson taking the money out. But the

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<v S3>quality of the CCTV was quite poor and you could

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<v S3>see by the footage that Mr. Johnson was aware that

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<v S3>there was a camera there. He did what I would

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<v S3>call a recce. He walked past and noticed that the

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<v S3>camera was there. So when he was extracting the money,

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<v S3>he held up what looked like a white handkerchief or

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<v S3>something like that over his face, so his face couldn't

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<v S3>be identified. So police had the details of the ATM,

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<v S3>obviously the account of the deceased, um, there was a

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<v S3>slight time difference between the ATM and the CCTV timestamp,

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<v S3>but that's that's fairly normal. The technology never lines up

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<v S3>all the time, but the couple were dead in their

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<v S3>home at that time that the money was extracted. You

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<v S3>saw this person extracting the money. The police went and

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<v S3>interviewed two people, his ex-wife and a friend of Mr. Johnson,

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<v S3>and showed them the CCTV footage, which they were able

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<v S3>to then identify Mr. Johnson through that video footage or

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<v S3>the CCTV footage. When it came to Mr. Johnson's trial,

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<v S3>I gave evidence for for the defence on the issues

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<v S3>that may occur because in both of the statements and

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<v S3>their oral evidence, they said they couldn't identify Mr. Johnson

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<v S3>from his face because he was covering his face and

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<v S3>it was fairly grainy, fairly poor quality. But they could

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<v S3>recognise or identify Mr. Johnson through the way he walked.

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<v S3>Now the problem I had with that, from an evidential perspective,

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<v S3>I'm I'm not doubting what they claim, but the issue

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<v S3>there from a technical perspective, was that the CCTV was

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<v S3>shot around two frames a second, which results in a

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<v S3>very jagged, animated type of motion. It's certainly not a

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<v S3>natural motion, which is around 30 frames per second. So

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<v S3>I was tasked to explain to the court how this

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<v S3>could be misleading. The motion isn't a natural motion, so

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<v S3>to make some form of recognition or identification could be dangerous.

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<v S3>I gave my evidence and Judge Anthony Wheely very good.

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<v S3>Supreme Court judge asked me a question. He said. So,

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<v S3>doctor Porter, are you referring to a situation similar to

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<v S3>a Charlie Chaplin film?

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<v S2>The silent movies.

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<v S3>The silent movies where the movement is quite animated, jerky

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<v S3>and not natural?

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<v S2>Well, that's probably because back then the silent films were

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<v S2>recorded at about 16 to 18 frames per second. And

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<v S2>I think for people to understand, it's almost like one

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<v S2>of those flip books. So we used to draw as kids,

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<v S2>you know, a whole thing of papers in a, in

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<v S2>a book, in a corner, and then you can get

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<v S2>your own little cartoon going. So it's easy to then

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<v S2>understand in that context why this gentleman's gait would have

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<v S2>appeared quite odd.

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<v S3>And that distortion, I don't know how much it would

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<v S3>affect their ability to make that judgment. That's that's not

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<v S3>my call. But what was interesting, too, is, uh, Judge

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<v S3>Whaley also instructed the jury, um, as a result of

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<v S3>another Supreme Court matter, uh, Tang, he instructed the jury

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<v S3>that the evidence given by the two witnesses is not

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<v S3>identification evidence, but recognition evidence that they recognize Mr. Johnson

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<v S3>on the video.

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<v S2>The difference between thinking they recognize and identifying correctly. There

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<v S2>seems to be a very big gap between the two.

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<v S2>Just as a layperson.

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<v S3>Yes. And there's a couple of distinctions. I mean, in

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<v S3>facial identification, there's a distinction between facial recognition software, which

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<v S3>enables a search of a database, and it gets to

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<v S3>a what they call a recognized level. But to go

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<v S3>the step to identification, it needs a forensic expert that's

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<v S3>trained in facial identification to be able to make that

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<v S3>claim a little bit like a fingerprint. They were used

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<v S3>the automatic fingerprint identification system, Aphis or Nifrs, and to

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<v S3>do a search of the fingerprint that they might have

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<v S3>found in the crime scene, the AI or the computer

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<v S3>technology can do a search of thousands in the database,

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<v S3>but it's actually the forensic examiner that actually takes it

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<v S3>to the identification level. And that's that's a system similar

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<v S3>to forensic imaging. And there's been quite a bit of

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<v S3>work done from. Universities around the world, in psychology departments,

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<v S3>around people's ability to recognize people in images, and even

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<v S3>in poor quality CCTV or poor quality video. And the

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<v S3>results are quite consistent. The psychologists split it up into

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<v S3>two categories familiar and unfamiliar faces. So if you know

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<v S3>somebody even with poor quality CCTV, the accuracy is quite high.

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<v S3>But if it's an unknown, an unfamiliar face, the error

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<v S3>rate goes up quite significantly, up around 3,040%. So it's

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<v S3>an interesting part of our innate ability to recognize people

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<v S3>when we see them. Familiar faces. We do a pretty

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<v S3>good job at recognizing them in images, even if they're

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<v S3>poor quality.

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<v S2>One of the interesting things, though, is comparing to a fingerprint.

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<v S2>There's only a finite number of whorls, loops, things that

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<v S2>they can find in combination. Surely in a human face

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<v S2>there are so many variables length, distance, um, depth of muscle, fat, tissue.

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<v S2>And then you have possible cosmetic interventions as well. Is

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<v S2>a face like as unique as a fingerprint?

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<v S3>Well, the difference major difference between face and fingerprint is

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<v S3>that faces change. Fingerprints don't. So weight gain, weight loss,

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<v S3>cosmetic surgery as you mentioned, age. That's one of the

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<v S3>things that's made facial identification quite difficult that it's not consistent.

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<v S3>You need a known source and exemplar to make that comparison.

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<v S3>And that exemplar is obviously done sometime in the past.

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<v S3>So depending upon how far in the past it was

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<v S3>may affect the the accuracy. Martin Evison in 2014 wrote

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<v S3>a brilliant paper called The Third Forensics, and he suggested

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<v S3>that forensic identification is entering its third phase. So fingerprints

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<v S3>being the first, DNA being the second method, and faces

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<v S3>identification was going to be the third forensic identifier, but

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<v S3>it just hasn't played out that that way.

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<v S2>You mentioned the database with fingerprints. Facial databases. Do they

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<v S2>help you in terms of helping to identify a person,

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<v S2>in terms of the likelihood that these facial features are

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<v S2>consistent with this? Person in this photograph.

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<v S3>Yeah. So there are some systems out there that the

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<v S3>Australian government are now using for facial identification. And we

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<v S3>see it now on our mobile phones when we sign

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<v S3>deeds and contracts, you can there, there are verification sort

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<v S3>of processes that are using the face as a, as

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<v S3>a form of verification based on your passport photographs or

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<v S3>your license photograph. So that technology certainly coming to play.

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<v S2>That's facial recognition isn't it.

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<v S3>Facial recognition. Yeah. Not identification from a forensic perspective. Yeah.

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<v S3>But but certainly the facial recognition is is playing a

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<v S3>part with facial databases because we, we've been in New

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<v S3>South Wales and other states, we've been collecting biometric data

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<v S3>from our driver's licenses for 15, 20 years now. It's

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<v S3>been quite a while since photo ID has been used

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<v S3>in our driver's licenses. Those authorities, government authorities have been

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<v S3>collecting that. Same with our passport. Our passport now has

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<v S3>biometric information. A passport photograph has biometric information. So the

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<v S3>state actually has as a resource quite a lot of

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<v S3>people's faces in databases. How is the state going to

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<v S3>use that. They've got some legislation at the moment that

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<v S3>allows organisations to use it in those software applications. I

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<v S3>just had a one of my PhD students who finished

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<v S3>a research project looking at whether the facial databases and

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<v S3>the facial recognition software, when you get poor quality CCTV

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<v S3>where you can't really see facial detail. She tested whether

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<v S3>forensic artists could be a transition between the CCTV of

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<v S3>poor quality and the facial recognition software. So an artist

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<v S3>sketch off the images and then the facial database can

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<v S3>search the actual line drawing or the sketch, and she

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<v S3>come up with some very interesting results that said that, yes,

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<v S3>the technology can recognize, um, drawings. And in some aspects

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<v S3>they were better than poor quality CCTV photographs. The artists

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<v S3>are outperformed in in some areas, particularly areas of really

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<v S3>bad angles when there was a sharp angle, not a

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<v S3>normal frontal view, which is, um, straight on which I'm

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<v S3>looking at the camera. Now, that's a normal frontal view,

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<v S3>but any side angles or uh, high angles, which CCTV

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<v S3>often is high, um, the, the artists actually outperformed in

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<v S3>some instances than the photograph. So that was an interesting

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<v S3>experiment that Vanessa, uh, gained a PhD out of.

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<v S2>In terms of what can people do if there are

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<v S2>so many images out there? And I just think how

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<v S2>many selfies are being taken by criminals and non criminals

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<v S2>every single day. There's got to be millions and millions

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<v S2>of of photographs taken and uploaded. So potentially there's a

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<v S2>massive database, a private companies utilizing that database.

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<v S3>Yeah, it's a bit. It's. There is some legislation around

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<v S3>where private enterprise can use software from the federal government,

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<v S3>and they can access certain elements, but they don't access

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<v S3>the database, but they can apply for a recognition search

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<v S3>from different faces. I'm not familiar with the 100% with

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<v S3>the legislation, but this is something that's come over the

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<v S3>last couple of years. It's going to be obviously more

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<v S3>prominent as we move into the AI tool of technology,

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<v S3>I would imagine. I also had an honor student who's

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<v S3>just finished an ex police officer, Tony Caledon, and his

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<v S3>career was working in the police, in the BCI and

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<v S3>also in intelligence and then privately over in private security

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<v S3>before he retired. So he's got a sort of a

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<v S3>background on both of those. And what he found in

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<v S3>his research is these notion of fusion centers going to

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<v S3>occur where surveillance of the of areas are going to

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<v S3>be black box. So with AI being able to interpret

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<v S3>activity rather than if you can imagine a security officer

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<v S3>sitting in front of, you know, 200 screens, the the

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<v S3>amount of detail becomes kind of white noise and detecting

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<v S3>things that are happening is not very easily. Well, in

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<v S3>fusion centers, they're all blacked out. Sort of uses a simple,

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<v S3>oversimplified analogy. They're all blacked out until the AI detects

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<v S3>some suspicious behavior, then it becomes visible, and then the

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<v S3>security agency can then may make a decision on the action.

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<v S3>So it's an interesting concept that Tony kind of discovered

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<v S3>that with fusion centers, you're going to get more surveillance

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<v S3>of the civilians or of the citizens, but more privacy,

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<v S3>which is a bit, you know, sounds contradictory, but, um,

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<v S3>there's some protection of the privacy because it's all black

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<v S3>box until you see someone in a car park looking

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<v S3>into car windows to see if there's anything you know

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<v S3>in there to steal the. I would pick that up

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<v S3>as suspicious activity and then turn on and alert the

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<v S3>security agency to. Then they can make a decision on

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<v S3>what that action is. So the technology is going to

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<v S3>get very clever. Um, but I think it's good in

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<v S3>one way that there thinking about the privacy because we

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<v S3>don't want an over surveillance state. I don't think most

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<v S3>people would want that. But this fusion center technology may

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<v S3>have our interest in in heart, I guess, around privacy.

0:14:55.610 --> 0:14:57.620
<v S3>It'd be interesting to see how it pans out over

0:14:57.620 --> 0:14:59.270
<v S3>the next ten, 15 years.

0:14:59.480 --> 0:15:04.100
<v S2>Well, we've also seen deepfake videos, and this is obviously

0:15:04.100 --> 0:15:07.670
<v S2>a very divisive thing that you can, um, if you

0:15:07.670 --> 0:15:12.940
<v S2>have the technology and the ability you can. Completely alter

0:15:12.940 --> 0:15:16.900
<v S2>someone's face in a video and replace it with someone else's.

0:15:17.140 --> 0:15:20.440
<v S2>For example, at the recent international forensic conference, one of

0:15:20.440 --> 0:15:26.670
<v S2>the forensic scientists had Obama, President Obama. Actually introducing her,

0:15:26.910 --> 0:15:30.300
<v S2>and everyone initially was like, oh, and then 11 or

0:15:30.300 --> 0:15:34.080
<v S2>12 seconds into it, the mouth didn't sync with the dialogue,

0:15:34.080 --> 0:15:36.510
<v S2>and so we all realized that it was a deep fake.

0:15:36.510 --> 0:15:40.110
<v S2>But just initially there was a room full of forensic

0:15:40.110 --> 0:15:42.900
<v S2>experts who were, oh my gosh, is that actually a

0:15:42.900 --> 0:15:46.920
<v S2>bummer introducing her? And that was the whole point. If

0:15:46.920 --> 0:15:51.300
<v S2>you could even convince a roomful of one of 1500

0:15:51.510 --> 0:15:56.820
<v S2>forensic experts how easy it is to fool the public.

0:15:57.180 --> 0:16:00.780
<v S3>That is very, very worrying. And, you know, can you

0:16:00.780 --> 0:16:03.990
<v S3>trust anything in imaging? That's that's where we might go.

0:16:03.990 --> 0:16:08.880
<v S3>But the filmmaker, Errol Morris, uh, has published a book

0:16:08.880 --> 0:16:12.210
<v S3>called Believing Is Seeing. And I've got a quote from

0:16:12.210 --> 0:16:16.860
<v S3>Morris book. It says photographs provide evidence, but no shortcut

0:16:16.860 --> 0:16:20.850
<v S3>to reality. It is often said that seeing is believing.

0:16:20.850 --> 0:16:24.210
<v S3>But what we do not form our beliefs on the

0:16:24.210 --> 0:16:28.290
<v S3>basis of what we see. Rather, what we see is

0:16:28.290 --> 0:16:31.800
<v S3>often determined by our beliefs. Believing is seeing, not the

0:16:31.800 --> 0:16:35.640
<v S3>other way around. It sort of highlights the ambiguity sometimes

0:16:35.640 --> 0:16:39.810
<v S3>of imaging as evidence. It's what we want to, uh,

0:16:40.050 --> 0:16:43.950
<v S3>believing is seeing the imagery, the fake, the deep fake,

0:16:43.950 --> 0:16:47.310
<v S3>or you know, that it's Obama and you know that

0:16:47.310 --> 0:16:51.000
<v S3>he's talking. So you often would come to the belief

0:16:51.000 --> 0:16:53.010
<v S3>that that's Obama talking.

0:16:54.280 --> 0:16:57.970
<v S2>In terms of having a suspect in custody. We all

0:16:57.970 --> 0:17:02.200
<v S2>know about mug shots. Profiles front on and each profile

0:17:02.200 --> 0:17:05.050
<v S2>can vary too, so I gather they take each side.

0:17:06.330 --> 0:17:10.470
<v S2>Do the police have a right to actually try and

0:17:10.470 --> 0:17:15.330
<v S2>photograph from the same perspective, for example, as the ATM captured,

0:17:15.330 --> 0:17:21.210
<v S2>to try and then superimpose the accused face onto the

0:17:21.210 --> 0:17:23.850
<v S2>evidence that they have and see if that matches.

0:17:24.680 --> 0:17:29.990
<v S3>We've seen this in some cases where anatomists have superimposed

0:17:29.990 --> 0:17:40.609
<v S3>faces onto forensically obtain images. It's it's dangerous. Um. Superimposition can.

0:17:41.480 --> 0:17:45.530
<v S3>Hide something as well as show something. So again, it

0:17:45.530 --> 0:17:49.970
<v S3>can really superimposition can really trick people's brains. So it's

0:17:49.970 --> 0:17:53.060
<v S3>I'm not much of a fan of it. This technology

0:17:53.060 --> 0:17:57.290
<v S3>came out with identification of, of skeletal remains. So they

0:17:57.290 --> 0:18:00.679
<v S3>would get a skull and get a photograph of the

0:18:00.680 --> 0:18:03.290
<v S3>person or the deceased who they think it is, and

0:18:03.290 --> 0:18:08.780
<v S3>then they would superimpose that image onto the skeletal, onto

0:18:08.780 --> 0:18:12.649
<v S3>the skull, and match up certain anatomical points of the

0:18:12.650 --> 0:18:15.500
<v S3>eye sockets and the teeth and, and those type of

0:18:15.500 --> 0:18:18.110
<v S3>things to try to identify the body. And this is

0:18:18.109 --> 0:18:22.700
<v S3>a technique designed before DNA. So DNA is obviously the

0:18:22.700 --> 0:18:25.760
<v S3>the premium method for identification now. But if there's no

0:18:25.760 --> 0:18:29.570
<v S3>DNA to match it to or no maternal DNA with

0:18:29.570 --> 0:18:33.919
<v S3>mitochondrial DNA, this technique I guess, is still valid. If

0:18:33.920 --> 0:18:36.439
<v S3>you talk to a fingerprint expert. What they don't do

0:18:36.440 --> 0:18:40.670
<v S3>is superimposition, fingerprints, and there's a good reason for it

0:18:40.670 --> 0:18:41.480
<v S3>because of the.

0:18:41.480 --> 0:18:43.850
<v S2>Distortion they do on telly all the time.

0:18:44.750 --> 0:18:47.869
<v S3>Yeah, they do a lot of things on tele. Um,

0:18:47.869 --> 0:18:51.919
<v S3>it can be more misleading than give information so side

0:18:51.920 --> 0:18:57.200
<v S3>by side, like for like combination is by a forensic

0:18:57.200 --> 0:19:01.609
<v S3>expert is the method of choice rather than superimposition. It's

0:19:01.609 --> 0:19:06.590
<v S3>too difficult. But image perspective which can change the face

0:19:06.590 --> 0:19:11.600
<v S3>quite a lot. Um and image perspective is. The spice,

0:19:11.600 --> 0:19:16.280
<v S3>how three dimensional objects are now recorded into two dimensional.

0:19:16.280 --> 0:19:19.460
<v S3>And basically, if you got and you'll see this on

0:19:19.460 --> 0:19:22.820
<v S3>a lot of selfies, you know, close up any close

0:19:22.820 --> 0:19:29.510
<v S3>up photographs of people's faces. The image perspective is quite deep.

0:19:29.510 --> 0:19:32.240
<v S3>So you might notice that, you know, the person's nose

0:19:32.240 --> 0:19:36.860
<v S3>seems exaggerated in a very close up photograph. The further

0:19:36.859 --> 0:19:42.290
<v S3>you move away, the flatter the perspective comes. And I've

0:19:42.290 --> 0:19:46.550
<v S3>measured about four meters. After four meters it becomes fairly stable.

0:19:46.820 --> 0:19:50.750
<v S3>So fashion photographers use this quite a lot as well.

0:19:50.750 --> 0:19:53.209
<v S3>This technique, in the sense that, you know, when you're

0:19:53.210 --> 0:19:58.520
<v S3>using people that have this beautiful proportionality of their face

0:19:58.520 --> 0:20:01.040
<v S3>and that's what makes them pretty and attractive and models

0:20:01.190 --> 0:20:03.470
<v S3>what you want to do is a fashion photographer or

0:20:03.470 --> 0:20:07.700
<v S3>a beauty photographer is capture that natural beauty. The approach

0:20:07.700 --> 0:20:13.340
<v S3>to maintaining that natural proportion and beauty is usually shot

0:20:13.340 --> 0:20:17.210
<v S3>on a long focal length lens at a distance, so

0:20:17.480 --> 0:20:21.050
<v S3>so that those proportions and parts of the face are

0:20:21.050 --> 0:20:24.109
<v S3>maintained naturally. As soon as you start bringing the camera

0:20:24.109 --> 0:20:27.919
<v S3>in closer, the proportions of the face, particularly the nose

0:20:27.920 --> 0:20:31.160
<v S3>being closer to the camera, will start to exaggerate and

0:20:31.160 --> 0:20:34.760
<v S3>those proportions must be disrupted. So part of the problem

0:20:34.760 --> 0:20:38.600
<v S3>with superimposition is that you don't often know the distance

0:20:38.720 --> 0:20:42.679
<v S3>between when that CCTV camera you can go and measure it,

0:20:42.680 --> 0:20:46.129
<v S3>which I've done at crime scenes as well. But then

0:20:46.130 --> 0:20:48.260
<v S3>you have to try to reproduce it. And there's a

0:20:48.260 --> 0:20:52.820
<v S3>lot of, um, difficulties with trying that approach. It's not impossible,

0:20:52.820 --> 0:20:55.820
<v S3>but superimposition is is certainly not the way to go

0:20:55.820 --> 0:20:59.210
<v S3>with facial identification. A side by side like for like

0:20:59.210 --> 0:21:02.359
<v S3>is is the method if it's an infrared versus a

0:21:02.359 --> 0:21:07.340
<v S3>color image, that could be problematic because of the differences.

0:21:07.340 --> 0:21:10.880
<v S3>They should be roughly the same angle, normal font size

0:21:10.880 --> 0:21:13.940
<v S3>is the perfect angle, of course, but often that's not

0:21:13.940 --> 0:21:15.650
<v S3>the case in surveillance photography.

0:21:16.830 --> 0:21:22.430
<v S2>What about ease in terms of uniqueness? How reliable is

0:21:22.430 --> 0:21:25.730
<v S2>analysis of ease and comparison in photo?

0:21:26.060 --> 0:21:30.230
<v S3>The term uniqueness is being a bit of a dirty

0:21:30.230 --> 0:21:35.449
<v S3>word in forensics over the last few years, because we've

0:21:35.450 --> 0:21:40.430
<v S3>always claimed that fingerprints are unique. But from a scientific position,

0:21:40.430 --> 0:21:41.480
<v S3>we can't prove that.

0:21:41.480 --> 0:21:44.149
<v S2>Unless you've fingerprinted every single person who's ever lived on

0:21:44.150 --> 0:21:45.199
<v S2>the planet, you.

0:21:45.200 --> 0:21:49.760
<v S3>Can model it. The US government tried to model. Model fingerprint? Statistically,

0:21:49.790 --> 0:21:53.750
<v S3>DNA does it through likelihood ratios. You know, to say

0:21:53.750 --> 0:21:57.350
<v S3>that 1 in 20,000,000 chance of someone having the same DNA.

0:21:57.590 --> 0:22:02.990
<v S3>So it can be modeled statistically. But uniqueness is something

0:22:02.990 --> 0:22:06.410
<v S3>that we don't like to sort of, uh, say, well,

0:22:06.410 --> 0:22:09.560
<v S3>we can say that they, they match or they have

0:22:09.560 --> 0:22:14.929
<v S3>similar characteristics, um, as to satisfy a match or whatever,

0:22:14.930 --> 0:22:19.040
<v S3>but not the concepts of uniqueness. So like fingerprints, there's

0:22:19.040 --> 0:22:22.190
<v S3>a claim that is, ah, unique. But we can't prove

0:22:22.190 --> 0:22:26.270
<v S3>that scientifically. And, you know, when you're comparing side by

0:22:26.270 --> 0:22:29.600
<v S3>side is which is what we can do, you can

0:22:29.600 --> 0:22:32.659
<v S3>say that there are a lot of strong anatomical similarities

0:22:32.660 --> 0:22:35.180
<v S3>between the two ears, and the likelihood of it being

0:22:35.180 --> 0:22:38.960
<v S3>the same is fairly high, but we we don't use

0:22:38.960 --> 0:22:43.159
<v S3>the word uniqueness anymore. Um, that's something we've, we've got

0:22:43.160 --> 0:22:48.020
<v S3>over it took fingerprinting, uh, bureaus quite a, quite a

0:22:48.020 --> 0:22:50.750
<v S3>while to go away from that. And I think they

0:22:50.900 --> 0:22:56.000
<v S3>may still not believe that fingerprints can't be proven. You know, um,

0:22:56.000 --> 0:23:01.370
<v S3>Michael Sachs, uh, us sociologists has written really well on this, uh,

0:23:01.369 --> 0:23:05.960
<v S3>around the, the fallacy of uniqueness and that, you know,

0:23:05.960 --> 0:23:12.680
<v S3>if we're using scientific methods within our forensic analysis, you

0:23:12.680 --> 0:23:17.060
<v S3>can't then come up with this qualitative claim that every fingerprints,

0:23:17.060 --> 0:23:21.050
<v S3>unique or every is unique unless you can prove it scientifically,

0:23:21.050 --> 0:23:23.209
<v S3>you can't really make that claim. And that was the

0:23:23.210 --> 0:23:26.720
<v S3>fallacy of individualization. If you can't prove it scientifically, don't

0:23:26.720 --> 0:23:27.260
<v S3>use it.

0:23:41.780 --> 0:23:48.050
<v S2>With all these variables light, angles, perspectives, distance. How on

0:23:48.050 --> 0:23:55.040
<v S2>earth is anyone actually identified by a photograph? Beyond all

0:23:55.040 --> 0:23:56.180
<v S2>reasonable doubt.

0:23:57.350 --> 0:23:59.780
<v S3>It seems you know, as much as I mentioned Martin

0:23:59.780 --> 0:24:02.540
<v S3>Stevenson's paper, the third forensics, it looked like, you know,

0:24:02.540 --> 0:24:05.899
<v S3>back in 2014 that this was going to be a revelation,

0:24:05.930 --> 0:24:09.890
<v S3>a new way of identifying people with the predominant amount

0:24:09.890 --> 0:24:13.550
<v S3>of imagery in the community, cameras in the community. This

0:24:13.550 --> 0:24:16.129
<v S3>is going to be the the next best thing since

0:24:16.130 --> 0:24:22.910
<v S3>DNA and fingerprints, but it just hasn't eventuated. I think

0:24:22.910 --> 0:24:27.739
<v S3>the facial recognition software and the tools that might be

0:24:27.740 --> 0:24:31.879
<v S3>used in the private sector and the verification of identity,

0:24:31.880 --> 0:24:35.389
<v S3>I think that's that's where facial recognition is going to

0:24:35.390 --> 0:24:39.380
<v S3>really play a part. But I'm not sure whether in

0:24:39.380 --> 0:24:43.910
<v S3>a forensic situation that this form of identification evidence is

0:24:43.910 --> 0:24:48.020
<v S3>going to resonate like the, like the fingerprints and DNA.

0:24:48.109 --> 0:24:52.310
<v S3>I know the AFP's facial team, the last time I

0:24:52.310 --> 0:24:54.950
<v S3>spoke with them, they hadn't gone to court. But they're

0:24:54.950 --> 0:24:59.660
<v S3>working very hard in developing standards and developing training for

0:24:59.660 --> 0:25:02.270
<v S3>their people. They're doing a very good job. But I

0:25:02.270 --> 0:25:06.410
<v S3>think our initial thinking that being able to identify from

0:25:06.410 --> 0:25:10.400
<v S3>it because it is in some way a trace like

0:25:10.400 --> 0:25:13.670
<v S3>fingerprints and DNA left at the scene. But it's not

0:25:13.670 --> 0:25:19.070
<v S3>a real direct trace. It's a visual trace. So there

0:25:19.070 --> 0:25:23.480
<v S3>is some ambiguities and or differences between, I think that

0:25:23.480 --> 0:25:28.310
<v S3>biological trace of a fingerprint or DNA versus a biological

0:25:28.310 --> 0:25:33.080
<v S3>trace from a camera. There are just some, some complexities

0:25:33.080 --> 0:25:35.180
<v S3>that it's just not made it as easy as what

0:25:35.180 --> 0:25:38.300
<v S3>we thought it was. You know, if we time traveled, uh,

0:25:38.300 --> 0:25:42.830
<v S3>50 years, not even 50 years, probably 20 years, 25

0:25:42.830 --> 0:25:47.000
<v S3>years and say to detect these right in the modern you,

0:25:47.030 --> 0:25:50.479
<v S3>you're going to have this resource where every crime is

0:25:50.480 --> 0:25:53.150
<v S3>going to be recorded by a camera. Do you think

0:25:53.150 --> 0:25:56.000
<v S3>they'll need detectives? And okay, well, of course not, because

0:25:56.000 --> 0:26:00.290
<v S3>there it is. But it hasn't eventuated. Um, identifying people

0:26:00.290 --> 0:26:01.280
<v S3>with difficult.

0:26:01.280 --> 0:26:05.780
<v S2>It sounds to me like photographs are actually circumstantial evidence

0:26:06.020 --> 0:26:11.389
<v S2>as opposed to definitive evidence. And I would ask, and

0:26:11.390 --> 0:26:16.370
<v S2>we actually giving defense teams more to pick holes in

0:26:16.730 --> 0:26:21.290
<v S2>by bringing photography and CCTV into it.

0:26:21.560 --> 0:26:24.380
<v S3>That's a very important element, because what I've seen over the,

0:26:24.530 --> 0:26:28.040
<v S3>in my experience, is the misuse of photographs as well.

0:26:28.040 --> 0:26:31.490
<v S3>And this is this is a problem. I remember being

0:26:31.490 --> 0:26:34.100
<v S3>in a biometric conference and I was on invited on

0:26:34.100 --> 0:26:37.879
<v S3>as a panel of experts and, um, a guy I

0:26:37.880 --> 0:26:40.220
<v S3>have a lot of respect for. Richard Brooke from the

0:26:40.220 --> 0:26:44.149
<v S3>FBI was on that panel as well. And the question

0:26:44.150 --> 0:26:47.240
<v S3>was asked of Richard. Richard was using a lot of

0:26:47.240 --> 0:26:52.820
<v S3>facial identification in, um, in the FBI. Uh, the famous

0:26:52.820 --> 0:26:56.270
<v S3>case that he worked on was the Afghan girl. I

0:26:56.270 --> 0:26:59.780
<v S3>don't know whether you're familiar with Afghan girl, with, uh,

0:26:59.780 --> 0:27:04.880
<v S3>Stephen McCurry. Um, National Geographic, the green eyes. The green eyes. Yeah.

0:27:04.880 --> 0:27:08.120
<v S3>The green eye. Beautiful Afghan. Beautiful. Yeah, yeah. Absolutely stunning.

0:27:08.359 --> 0:27:10.760
<v S3>They went back a few years later and tried to

0:27:10.760 --> 0:27:15.770
<v S3>identify it. And I believe the FBI certainly made the identification.

0:27:15.890 --> 0:27:20.240
<v S3>But it was asked of the panel, particularly Richard, of um,

0:27:20.930 --> 0:27:24.200
<v S3>so what happens if you can't identify them, you know,

0:27:24.200 --> 0:27:27.859
<v S3>so you've got a mugshot and exemplar photographed a source

0:27:27.859 --> 0:27:31.730
<v S3>that you have known, known and known identity. And you've

0:27:31.730 --> 0:27:35.150
<v S3>got a, a still of a, of a face from

0:27:35.150 --> 0:27:40.219
<v S3>CCTV or ATM or a mobile phone, but the experts

0:27:40.220 --> 0:27:43.220
<v S3>just can't identify it because, you know, maybe the quality

0:27:43.220 --> 0:27:45.830
<v S3>isn't there or just it just you just can't identify it.

0:27:45.830 --> 0:27:48.470
<v S3>What do you do? And he said, that's simple. We

0:27:48.470 --> 0:27:50.869
<v S3>just put the two photographs together, paste them on a

0:27:50.869 --> 0:27:55.160
<v S3>board and give them to the jury. And I sort

0:27:55.160 --> 0:27:58.400
<v S3>of went, what do you do? What I said, so

0:27:58.400 --> 0:28:03.230
<v S3>here you are, the FBI, who have all these trained

0:28:03.230 --> 0:28:08.720
<v S3>science scientists and forensic experts trained in facial identification. They

0:28:08.720 --> 0:28:11.540
<v S3>can't make the identification. But what you're asking the jury

0:28:11.540 --> 0:28:14.210
<v S3>is to make that identification for you, because you can't.

0:28:14.450 --> 0:28:18.650
<v S3>That's outrageous. That's that's biasing the evidence in a, in

0:28:18.650 --> 0:28:20.540
<v S3>a in a very big way. And a good friend

0:28:20.540 --> 0:28:24.139
<v S3>of mine, Gary Edmund from the unionist South Wales, he's

0:28:24.140 --> 0:28:27.740
<v S3>position that he I've heard him say quite often is

0:28:27.740 --> 0:28:31.940
<v S3>that particularly with fingerprints fingers fingerprints do the same. Fingerprint

0:28:31.940 --> 0:28:34.340
<v S3>experts will have the exemplar and the fingerprint and the

0:28:34.340 --> 0:28:37.730
<v S3>points of identification. Give that to the jury and they

0:28:37.730 --> 0:28:40.700
<v S3>will see, you know, ten or 20 or 15 points

0:28:40.700 --> 0:28:43.110
<v S3>of identification. The fingerprints. I don't have too much of

0:28:43.110 --> 0:28:47.820
<v S3>a problem with that. But. But Professor Edmond suggests that. Well,

0:28:47.820 --> 0:28:49.980
<v S3>if you've got the expert there, you don't need to

0:28:49.980 --> 0:28:53.490
<v S3>show them that photographic evidence. And I think he's got

0:28:53.490 --> 0:28:57.240
<v S3>a really strong point there that whether showing that sort

0:28:57.240 --> 0:29:00.660
<v S3>of visual aspect to the jury, does it better inform

0:29:00.660 --> 0:29:07.050
<v S3>them or is it influencing them in a wrong way? Another, um,

0:29:07.050 --> 0:29:09.930
<v S3>encounter I had, it was with the New South Wales Police.

0:29:09.930 --> 0:29:12.720
<v S3>I was asked by the chief scientists at the time

0:29:12.720 --> 0:29:17.729
<v S3>to do a review of the forensic forensic photography, a

0:29:17.730 --> 0:29:21.180
<v S3>forensic imaging unit in the New South Wales Police. And

0:29:21.180 --> 0:29:26.220
<v S3>I did that with another AFP senior AFP officer. And

0:29:26.610 --> 0:29:29.580
<v S3>we were shown around the the unit and we went

0:29:29.580 --> 0:29:32.250
<v S3>to this, uh, one room where they had a poster

0:29:32.910 --> 0:29:39.120
<v S3>and there was a CCTV photograph of two people holding

0:29:39.120 --> 0:29:41.580
<v S3>up another two people in a park. I think it

0:29:41.580 --> 0:29:46.230
<v S3>was in King's Cross. So then they had, uh, so

0:29:46.350 --> 0:29:48.810
<v S3>just try to visualise this poster. So this big image

0:29:48.810 --> 0:29:53.010
<v S3>in the middle was the CCTV image of the incident,

0:29:53.430 --> 0:29:57.450
<v S3>a still image. There was then close ups of each

0:29:57.450 --> 0:30:01.800
<v S3>person's head on the left hand side of the right

0:30:01.800 --> 0:30:05.100
<v S3>hand side. Sorry of the poster. Then on the other

0:30:05.100 --> 0:30:08.580
<v S3>opposite side of the poster was the two mug shots

0:30:08.580 --> 0:30:12.490
<v S3>of the people. And I said, well, so what's this

0:30:12.490 --> 0:30:16.150
<v S3>poster for? They said, oh, it's for court. Uh, identification

0:30:16.150 --> 0:30:19.240
<v S3>of the people. Oh, you say you've identified them? Oh, no, no, no,

0:30:19.240 --> 0:30:21.940
<v S3>we can't do that. Um, but we show them these

0:30:21.940 --> 0:30:25.150
<v S3>posters so that the jury can, you know, uh, correlate

0:30:25.330 --> 0:30:28.960
<v S3>between the the two close ups of the faces. So

0:30:28.960 --> 0:30:33.730
<v S3>this is an example of issues I've come across where

0:30:33.730 --> 0:30:38.200
<v S3>it's treating the jury as, uh, pseudo experts by showing

0:30:38.200 --> 0:30:42.460
<v S3>them images. And we all believe we're very visually literate.

0:30:42.460 --> 0:30:47.410
<v S3>We're a community that embellishes images all in everything we do. Even,

0:30:47.410 --> 0:30:49.600
<v S3>you know, we're doing that now. We're recording this on

0:30:49.600 --> 0:30:53.560
<v S3>on a camera, this conversation. So everything we do just

0:30:53.560 --> 0:30:57.940
<v S3>just about is recorded in some visual form. I have

0:30:57.940 --> 0:31:02.680
<v S3>some concerns when photographs are misrepresented to a jury in

0:31:02.680 --> 0:31:07.300
<v S3>a seemingly unbiased, unaltered way for them to make up

0:31:07.300 --> 0:31:11.230
<v S3>their mind. So using photographs, I think can be quite dangerous.

0:31:11.230 --> 0:31:14.110
<v S3>And there's no filter with this at the moment in

0:31:14.110 --> 0:31:19.180
<v S3>the criminal justice system, the judges, uh, that I've come across, uh,

0:31:19.480 --> 0:31:22.870
<v S3>believe that the more information you can give the jury,

0:31:22.870 --> 0:31:25.990
<v S3>the better the jury are to make the right decision.

0:31:26.230 --> 0:31:29.860
<v S3>I certainly agree with that. But whether images can help

0:31:29.860 --> 0:31:33.880
<v S3>or hinder the truth is something that's a bit concerning

0:31:33.880 --> 0:31:36.670
<v S3>when it comes to visual evidence in criminal cases.

0:31:37.480 --> 0:31:41.770
<v S2>There was a case that involved Larry David's show, Curb

0:31:41.770 --> 0:31:46.480
<v S2>Your Enthusiasm, and the role that that played in a

0:31:46.480 --> 0:31:49.330
<v S2>criminal trial. Can you go through that for us?

0:31:49.660 --> 0:31:53.230
<v S3>Sure. Um, I wrote about it in my PhD thesis

0:31:53.230 --> 0:31:56.380
<v S3>many years ago, but it's, um, it's a bit of

0:31:56.380 --> 0:32:02.560
<v S3>a reverse, uh, identification. There was a gang murder, and

0:32:02.560 --> 0:32:06.100
<v S3>one of the witnesses to that gang murder was actually

0:32:06.100 --> 0:32:11.200
<v S3>murdered herself. And the accused of the original murder trial.

0:32:11.230 --> 0:32:15.850
<v S3>His brother was charged with her murder, and he claimed

0:32:15.850 --> 0:32:18.670
<v S3>that it couldn't have been him because he was at

0:32:18.670 --> 0:32:22.810
<v S3>the baseball with his daughter. And he produced the seating

0:32:22.810 --> 0:32:25.030
<v S3>stubs to the police. And they said, well, you could

0:32:25.030 --> 0:32:28.720
<v S3>have got this off anyone. They tried to look it

0:32:28.720 --> 0:32:33.190
<v S3>up with the CCTV cameras of the stadium, and they

0:32:33.190 --> 0:32:35.830
<v S3>saw where his seat was, and they tried to enlarge it,

0:32:35.830 --> 0:32:40.030
<v S3>but it was just too it just didn't allow definition

0:32:40.030 --> 0:32:43.240
<v S3>that they could identify him sitting there with his daughter.

0:32:43.600 --> 0:32:47.800
<v S3>But for some, uh, strange reason, Larry David was shooting,

0:32:47.800 --> 0:32:51.910
<v S3>I think, Curb Your Enthusiasm show. And there was the

0:32:51.910 --> 0:32:54.490
<v S3>accused in the background, sitting in his seat.

0:32:54.610 --> 0:32:55.510
<v S2>With a good quality.

0:32:55.510 --> 0:33:00.370
<v S3>Film. Yeah, broadcast quality film. And they use that. And

0:33:00.370 --> 0:33:03.670
<v S3>of course, they got, um, uh, statements off the producers

0:33:03.670 --> 0:33:05.500
<v S3>of the time and the and the time and date

0:33:05.500 --> 0:33:09.670
<v S3>stamps on the, on the video. Um, and his alibi

0:33:09.670 --> 0:33:12.520
<v S3>then was confirmed that he was at the baseball through

0:33:12.670 --> 0:33:16.480
<v S3>the happened chance of being in the background of Larry

0:33:16.480 --> 0:33:19.240
<v S3>David's show. So quite a quite an interesting.

0:33:19.300 --> 0:33:19.930
<v S2>High definition.

0:33:19.930 --> 0:33:22.810
<v S3>In high definition. Yeah, yeah. And he was telling the truth.

0:33:22.810 --> 0:33:25.570
<v S2>So it can actually be used to exonerate.

0:33:25.720 --> 0:33:28.870
<v S3>It can be used to exonerate. Absolutely. Any forensic evidence

0:33:28.870 --> 0:33:33.190
<v S3>is about the first of all, trying to exonerate innocent

0:33:33.190 --> 0:33:37.840
<v S3>people and secondly, trying to, uh, to convict or use

0:33:37.840 --> 0:33:41.200
<v S3>to in the conviction of perpetrators of crime. But the

0:33:41.200 --> 0:33:44.500
<v S3>primary objective is always to try to eliminate first, not

0:33:44.500 --> 0:33:48.250
<v S3>not identify. Being an academic in forensic science at Western

0:33:48.250 --> 0:33:51.970
<v S3>Sydney University for several years, being one of the founding

0:33:51.970 --> 0:33:55.900
<v S3>academics or the founding academic there. For that course, we

0:33:55.900 --> 0:33:59.950
<v S3>built a crime scene facility with the New South Wales Police,

0:33:59.950 --> 0:34:03.820
<v S3>where students would go through and actually process scenes of crime.

0:34:04.120 --> 0:34:09.219
<v S3>Forensic photography is more of the specialisation, the the enhancement

0:34:09.219 --> 0:34:13.989
<v S3>of the of the evidence. Uh, the understanding reading of

0:34:13.989 --> 0:34:19.660
<v S3>how vision works and how it how it affects the interpretation. Um,

0:34:19.660 --> 0:34:23.049
<v S3>I think that's more about forensic crime scene photography really

0:34:23.050 --> 0:34:27.850
<v S3>is more about recording in a document style, um, in

0:34:27.850 --> 0:34:31.360
<v S3>a vernacular kind of photography, how the scene was found,

0:34:31.360 --> 0:34:35.680
<v S3>items of evidence, murder, weapons, shoe marks and so forth.

0:34:35.680 --> 0:34:38.410
<v S3>There are particular ways that they need to be photographed,

0:34:38.410 --> 0:34:41.530
<v S3>but what a crime scene officer does in the processing

0:34:41.530 --> 0:34:45.040
<v S3>of a scene is document. And they would they would

0:34:45.040 --> 0:34:49.990
<v S3>document in images, usually video or still photography. They would

0:34:49.989 --> 0:34:53.890
<v S3>write contemporaneous notes on where they saw things and how

0:34:53.890 --> 0:34:57.370
<v S3>they found it, and also sketching, which is another visual,

0:34:57.370 --> 0:35:01.029
<v S3>cultural sort of aspect to understanding crime scenes. So crime

0:35:01.030 --> 0:35:03.670
<v S3>scene investigators would do those, those three things. They would

0:35:03.670 --> 0:35:07.810
<v S3>also collect the evidence, but say shoe marks and fingerprints,

0:35:07.810 --> 0:35:11.270
<v S3>items that are going to be analyzed. By other forensic

0:35:11.270 --> 0:35:15.770
<v S3>experts need to be taken in a particular way so

0:35:15.770 --> 0:35:21.230
<v S3>that distortion and artifacts are eliminated. And that's where forensic

0:35:21.230 --> 0:35:26.299
<v S3>photography training has to occur with crime scene investigators. So

0:35:26.300 --> 0:35:29.660
<v S3>they do do some, I guess, forensic photography on site

0:35:29.660 --> 0:35:33.830
<v S3>when it comes to recording, documenting those types of evidence.

0:35:34.250 --> 0:35:39.230
<v S3>But in a whole it's more around just recording the

0:35:39.230 --> 0:35:44.600
<v S3>site as it's found and the critical elements of the site.

0:35:44.870 --> 0:35:48.470
<v S3>They sort of work in a photo narrative form more

0:35:48.469 --> 0:35:52.790
<v S3>so than anything, and they would use filmic techniques. So

0:35:52.790 --> 0:35:55.310
<v S3>for instance, if there was a shoe mark in blood,

0:35:55.430 --> 0:35:59.359
<v S3>they would photograph it using a style of photography, but

0:35:59.360 --> 0:36:02.000
<v S3>in a way that that a filmmaker would approach it.

0:36:02.000 --> 0:36:04.460
<v S3>So you do what we call an establishing shot. So

0:36:04.460 --> 0:36:07.100
<v S3>you do a wide shot to show the location of

0:36:07.100 --> 0:36:08.989
<v S3>the shoe mark in blood, and then you do a

0:36:08.989 --> 0:36:11.810
<v S3>close up shot, which would be the forensic kind of

0:36:11.810 --> 0:36:14.480
<v S3>where you would put a scale down. You would make

0:36:14.480 --> 0:36:17.930
<v S3>sure that it's perpendicular to the subject. You would use

0:36:17.930 --> 0:36:21.440
<v S3>lighting to show that the, the maximum detail of the,

0:36:21.440 --> 0:36:24.530
<v S3>of the shoe mark. So it's very much a filmic

0:36:24.530 --> 0:36:29.480
<v S3>kind of visual narrative that crime scene operatives work on

0:36:29.480 --> 0:36:33.290
<v S3>in combination with their contemporaneous notes. And they use tools

0:36:33.290 --> 0:36:37.640
<v S3>like markers, evidence markers to show and relate the photographs

0:36:37.640 --> 0:36:40.850
<v S3>in the sketch to the contemporaneous notes. That's all a

0:36:40.850 --> 0:36:44.810
<v S3>way of communicating a bloody shoe mark. That could be

0:36:44.870 --> 0:36:48.890
<v S3>a item I found in the the lounge room or whatever,

0:36:48.890 --> 0:36:53.660
<v S3>but that marker that's placed next to the the shoe mark,

0:36:53.660 --> 0:36:57.380
<v S3>that item of evidence is only there really, so that

0:36:57.380 --> 0:37:01.730
<v S3>the contemporaneous notes and the sketches and the photographs all

0:37:01.730 --> 0:37:03.920
<v S3>tie in in a communicative way. And you.

0:37:03.920 --> 0:37:05.540
<v S2>Can get a sense of scale and you can.

0:37:05.540 --> 0:37:08.210
<v S3>Get a sense of scale. So we use linear scales

0:37:08.210 --> 0:37:12.140
<v S3>to do that. Um, and, and, and all sorts of things. Yeah.

0:37:12.320 --> 0:37:14.660
<v S3>And now with drones, you know, you can get aerial

0:37:14.660 --> 0:37:18.440
<v S3>shots as well. Um, New South Wales Police, we were

0:37:18.440 --> 0:37:22.160
<v S3>very big on using photogrammetry as well, where they would

0:37:22.160 --> 0:37:27.440
<v S3>go in and use stereo cameras and record it, particularly for, uh,

0:37:27.440 --> 0:37:33.170
<v S3>motor vehicle accidents particularly, and then reproduce that accurately. So

0:37:33.170 --> 0:37:37.040
<v S3>measurements can be taken from their line drawings very similar

0:37:37.040 --> 0:37:39.560
<v S3>to an old plan of a building. It's they sort

0:37:39.560 --> 0:37:42.680
<v S3>of they can draw scenes in that sort of line sketch,

0:37:42.680 --> 0:37:45.890
<v S3>but it's to scale and things can be measured.

0:37:47.050 --> 0:37:52.089
<v S2>We've actually seen lots of visual illusions, and there's been

0:37:52.090 --> 0:37:55.360
<v S2>so much fighting on the internet about, for example, the

0:37:55.360 --> 0:37:58.480
<v S2>dress there was blue and gold and whatever people would

0:37:58.480 --> 0:38:02.230
<v S2>argue to the death that they were totally different colours

0:38:02.230 --> 0:38:04.570
<v S2>from what someone else was seeing. Can you give us

0:38:04.570 --> 0:38:09.310
<v S2>an example of another visual illusion that people can actually understand?

0:38:09.310 --> 0:38:13.960
<v S2>How our minds can be tricked, even though we're convinced otherwise?

0:38:14.530 --> 0:38:18.580
<v S3>Yeah, there's lots of examples, Cathy. Um, I give a

0:38:18.580 --> 0:38:22.720
<v S3>lecture in forensic photography or forensic criminology subject that I

0:38:22.719 --> 0:38:26.140
<v S3>teach here at the university on how to interpret images.

0:38:26.140 --> 0:38:28.600
<v S3>And basically what I'm trying to show the students is

0:38:28.600 --> 0:38:33.910
<v S3>the ambiguity, how ambiguous a lot of the the vision is.

0:38:33.940 --> 0:38:37.930
<v S3>An example is a horse race, uh, photo finish. You

0:38:37.930 --> 0:38:40.480
<v S3>you would believe that they're in different places of the track,

0:38:40.480 --> 0:38:42.940
<v S3>but in actual fact, the way that it's recorded through

0:38:42.940 --> 0:38:45.940
<v S3>a slot, the horses are at the same location, but

0:38:45.940 --> 0:38:49.750
<v S3>at different time. So in this type of recording, the

0:38:49.750 --> 0:38:53.529
<v S3>variation is the time, not the distance, but our interpretation

0:38:53.530 --> 0:38:56.500
<v S3>is the distance because we see a horse in front

0:38:56.500 --> 0:38:59.890
<v S3>and a horse behind that the horse in in the crossing.

0:38:59.890 --> 0:39:02.590
<v S3>The line first is though is in front of the

0:39:02.590 --> 0:39:06.700
<v S3>horse coming second. But in actual fact, the photo, the

0:39:06.700 --> 0:39:10.719
<v S3>imagery is all taken at the same location. The difference?

0:39:10.719 --> 0:39:15.730
<v S3>There is time. But another great example is a checkerboard

0:39:15.730 --> 0:39:21.430
<v S3>example by, um, a researcher called Edward Allison, who uses

0:39:21.430 --> 0:39:27.340
<v S3>a visual anomaly where there's a if you can vision

0:39:27.430 --> 0:39:30.340
<v S3>a black and white checkerboard or a chessboard like, well,

0:39:30.340 --> 0:39:34.480
<v S3>like we all know, and there's a green cylinder sitting

0:39:34.480 --> 0:39:39.609
<v S3>on the, uh, checkerboard casting a shadow over the checkerboard.

0:39:39.610 --> 0:39:44.500
<v S3>And there are two, uh, squares that Alderson identifies, square

0:39:44.500 --> 0:39:48.640
<v S3>A and square B, and the question is, is, is

0:39:48.640 --> 0:39:52.089
<v S3>the tone of A and B square A and B

0:39:52.120 --> 0:39:56.860
<v S3>the same or different? Now, unlike the dress that has people,

0:39:56.860 --> 0:40:02.620
<v S3>C perceive the colors differently in this experiment, everyone that

0:40:02.620 --> 0:40:07.210
<v S3>I'm aware of sees the two squares as different tones,

0:40:07.210 --> 0:40:10.960
<v S3>blatantly different tones, and they would believe and swear that

0:40:10.960 --> 0:40:14.530
<v S3>they are different tones. But if you were to isolate

0:40:14.530 --> 0:40:19.870
<v S3>everything else and just look at those two squares like

0:40:19.870 --> 0:40:22.239
<v S3>I do in my class, you'll see that that they're

0:40:22.239 --> 0:40:26.259
<v S3>exactly the same tone of gray. I've even use Photoshop

0:40:26.260 --> 0:40:30.339
<v S3>and measured the A square and the B square, and

0:40:30.340 --> 0:40:35.950
<v S3>I get the same RGB value, uh, in both. So empirically,

0:40:35.950 --> 0:40:39.670
<v S3>I've also proven that it's the same tonal range, but

0:40:39.670 --> 0:40:42.190
<v S3>if you see it, uh, you would believe that a

0:40:42.190 --> 0:40:47.770
<v S3>square A and square B is absolutely different tonality. But

0:40:47.770 --> 0:40:51.219
<v S3>the reality is it's the same. And I'll go back

0:40:51.219 --> 0:40:54.399
<v S3>to the Errol Morris quote, believing is seeing. It's not

0:40:54.400 --> 0:40:57.490
<v S3>the other way around. You believe that it's different, but

0:40:57.489 --> 0:40:59.020
<v S3>the facts are they're the same.

0:40:59.620 --> 0:41:03.370
<v S2>I think my brain is just absolutely mashed up now

0:41:03.370 --> 0:41:08.770
<v S2>because I thought photographs were definitive, and now I'm actually

0:41:08.770 --> 0:41:12.250
<v S2>thinking it's all an illusion. Thank you so much, Glenn,

0:41:12.250 --> 0:41:18.219
<v S2>for actually getting us thinking about photographs and reliability and

0:41:18.219 --> 0:41:24.130
<v S2>evidence and facial recognition versus identification. It is so complicated.

0:41:24.340 --> 0:41:27.250
<v S2>Thanks very much for joining us and explaining all of

0:41:27.250 --> 0:41:28.060
<v S2>that today.

0:41:28.090 --> 0:41:29.710
<v S3>You most welcome, Kathy anytime.

0:41:37.930 --> 0:41:42.400
<v S2>Crime Insider's Forensics is a listener. Original production. It's hosted

0:41:42.400 --> 0:41:45.670
<v S2>by me, Catherine Fox, and is produced by Ed Gordon.

0:41:46.120 --> 0:41:48.759
<v S2>Sound Design and imaging is by Link Kelly.